Tips on Writing a Powerful First Chapter

Beginnings are difficult for most writers, but I’m here to help!

Hey guys! It's editor and author S. A. Soule with some first chapter writing tips...

Just for the record: I hate beginnings. The first pages of my novels are an inexorably torment to write because I am such a perfectionist. But after numerous revisions, I am very proud of my first sentences and my opening scenes.

This post focuses on the “hook” every story needs in its opening scene. Without strong hooks, the reader has no reason to keep reading. A good “hook” can be an open-ended question, one that leaves the reader trying to decide what the main character will do next.

It seems like it would be obvious to start a story at the beginning of the character’s journey, but unfortunately, that’s usually not a good place to start. No matter what the genre is, there are most likely several other scenes that can be used as the opening scene. Find the one that will have the greatest impact on your readers. Think of your first line as a hook that lures your reader into the story. It is your big chance to be so ingenious that your readers will not be able to put your book down.

Dream openers are cliché.

Avoid beginning your novel with a dream. This can create a very awkward beginning. Dreams in general are often seen in the work of beginning writers (it will red flag you to agents and editors) because it’s overdone. Therefore, dreams should be used with great care no matter where they happen in a story, but should never be used as an opening. Always attempt to open your novel with the immediate sense of the storyline.

Some skilled writing fails to connect the reader because the writer doesn’t get what the novel’s opening must do in order to hook a reader. Frequently, as I’m editing other writers, I find a gripping opening scene pages later in the story. Most often, a dump of exposition or backstory drags the story to a standstill.

For an unpublished writer, it’s absolutely essential that you grab the reader’s attention from the opener. Metaphorical hands should rise out of the first page, seize your reader by the collar, and yank them, helpless into the narrative.

What will compel a reader to put down your book after reading the first page?

Not opening with a strong enough first sentence or that much-needed “hook” in the first paragraph to reel the reader into your world. The first sentence is essential and each should be meticulously constructed to entice the reader into needing to find out more. Readers may forgive a less than stellar first sentence; however, the first paragraph should lure them into the narrative. Don’t bore the reader with too many tedious details, long paragraphs of inner-monologue, pages of backstory, or lengthy description.

Remember, the opener needs to be fresh, original, with a great hook in the first line. Even the first paragraph. Even more than that, the first page. Each one is extremely critical and should be crafted to bait the reader into needing to find out more.

How many times do you revise your first line?

What are some of your favorite opening sentences?

Please let me know in the comments! 

3 Reasons Why You Lose a Reader by author S. A. Soule - #WriteTip #GetPublished #AmWriting

Today’s post is form the perspective of a reader, and not a writer or editor. For the first time in my life, I have not finished more books than I’ve read over the last twelve months. But I’m not the type of reader that feels compelled to finish a book after I’ve started it, and I never feel guilty for not finishing a book. 

Why waste my time on something that I’m not enjoying?

I don’t usually have this issue. Normally, I read two to three books a month if not more. 

Recently, I’ve been feeling somewhat burned out on the Urban Fantasy and Paranormal Romance genres, so I began reading more contemporary novels in both Young Adult and New Adult. I loved “Beautiful Disaster” by Jaimie McGuire and “Easy” by Tammara Webber. The only paranormal type books that I’m still loving are the Arcane Chronicles by Kresley Cole (this series is insanely good!) and C.C. Hunter’s Shadow Falls series.

Why did I DNF so many novels? Well, I personally felt like some of these wonderful stories were lacking in few areas. By lacking, I mean, not holding my interest. To be fair, most of these books were well-written by talented writers, but by page fifty or one hundred, I no longer cared how the story ended or about the characters. (BTW, the vast majority of the books I did DNF were NA novels.) 

So I thought I’d share my views on what might turn some readers off. Maybe you’ve been querying literary agents and you've been repeatedly rejected, or you’re an indie or self-published author who is getting numerous bad reviews, or sales just aren’t taking off like you’d hoped on your newest release. Or perhaps you’re working on your current WIP and your CPs are telling you that the story is dragging in some places or the pacing is too slow. Whatever the reason, I hope these tips and suggestions help to improve your awesome narrative.

First let me say this…

I get it. I really do. Your book is like your baby, and you love it and you’ve poured your sweat and blood and tears into it. But sometimes you need a take a step back and look at the writing from a reader’s perspective…

Reasons why a reader doesn't finish a book.

Reason 1:

The first half of the novel is mostly filled with introspection or backstory. Which means: pages upon pages of internal yammering without any action or dialogue. 

Inner-monologue or internal exposition is one of the essential ingredients used to create a comprehensive story. Unfortunately, it’s all too often one of the most misused elements in storytelling. Since internal-monologue is slower and can be boring for the reader, find ways to bring it to life through Deep POV, action, and/or dialogue. Don’t let your character’s mental babble (long blocks of introspection) go on for pages at a time without a break by either dialogue or action. 

Dialogue illustrates characterization quicker than any amount of exposition. If you disrupt the action and dialogue to include colossal chunks of detailed description or introspection, it will remove the reader from the story. These are some of the drawbacks of too much introspection, otherwise known as info-dumps, inner-monologue, internal dialogue, exposition, or author intrusion. 

Yet, if I’m being honest, I have to admit that I’ve written a couple of bad novels. And had them published under a pen name many years ago. But that was long before I sharpened my writing skills and studied the art of fiction writing with a crazed intensity. I read articles on editing and revision, books on the craft, and studied style guides. I love learning new ways to improve my writing, so hopefully you gleam some insight from this post.

Reason 2:

The novel has some intriguing dialogue and action, but between it (or even worse, right in the middle!) the characters have long, bloated paragraphs or pages of internal-monologue. One book that I recently read by a bestselling author had her characters talking, and then suddenly in the middle of the conversation, the main character stopped speaking and there was three pages of introspection. Three. Pages. Now picture this in real life, you’re having a conversation with someone and they abruptly stop talking and stare off into space for five to ten minutes. 

Wouldn't you think that was odd?  

When a writer does this, I always wonder what the other character is dong while these wordy internal-monologues are going on, and I find myself skimming over the wordy text to get back to the dialogue.

Too much introspection can hinder the flow of a scene and smack of author intrusion by yanking the reader out of the story. Especially, smack dab in the middle of dialogue. If you feel it is important, then please try to keep the exposition to no more than a few sentences or a very short paragraph. 

Reason 3:

The story starts with a great “hook” and a compelling opener, and then the author pushes pause on the story to insert a flashback of backstory that goes on for pages. These scenes stop the action, can be puzzling to the reader, and prevent them from getting on with the plot, which is generally more attention-grabbing for them. I suggest that writers try to stay in the present moment.

And I recommend never including an info-dump of backstory in your first chapter. And never attempt to dump it in long speeches of dialogue, either. This is also a form of telling rather than showing the reader. And this applies to any flashbacks and memories and thoughts (thoughts = characters pondering stuff). Or having the character ask him/herself a lot of rhetorical questions within the first few pages. This is considered weak writing when a writer uses too many rhetorical questions to drive the narrative forward when that same forward motion could be achieved by just showing the conflict or doubt or confusion through deep POV. 

An info-dump of backstory is one of the worst offenses you can make as a writer in your first two or three chapters. (Hence, the phrase info-dump, because you’re dumping information on the page in long blocks of text.) Introspection and backstory should be elegantly woven into the storyline much later. Don’t ramble on for long paragraphs at a time, or try to force it into becoming dialogue. It’s considered weak writing because it’s jarring for the reader. Often times, info-dumps yank the reader out of the story because it reminds the reader that they’re reading and the author has intruded. A concise paragraph placed throughout the narrative is fine. 

I’m sure there are lots of valid reasons for not finishing a book, so please add yours in the comments. 

Why do you put a book down?

What are your pet-peeves as a reader?